Desperate to escape his mind-numbing routine, uptown Manhattan office worker Paul Hackett (Griffin Dunne) ventures downtown for a hookup with a mystery woman (Rosanna Arquette). So begins the wildest night of his life, as bizarre occurrences-involving underground-art punks, a distressed waitress, a crazed Mister Softee truck driver, and a bagel-and-cream-cheese paperweight-pile up with anxiety-inducing relentlessness and thwart his attempts to get home. With this Kafkaesque cult classic, Martin Scorsese-abetted by Michael Ballhaus's kinetic cinematography and scene-stealing supporting turns by Linda Fiorentino, Teri Garr, Catherine O'Hara, and John Heard-directed a darkly comic tale of mistaken identity, turning the desolate night world of 1980s SoHo into a bohemian wonderland of surreal menace.
Desperate to escape his mind-numbing routine, uptown Manhattan office worker Paul Hackett (Griffin Dunne) ventures downtown for a hookup with a mystery woman (Rosanna Arquette). So begins the wildest night of his life, as bizarre occurrences-involving underground-art punks, a distressed waitress, a crazed Mister Softee truck driver, and a bagel-and-cream-cheese paperweight-pile up with anxiety-inducing relentlessness and thwart his attempts to get home. With this Kafkaesque cult classic, Martin Scorsese-abetted by Michael Ballhaus's kinetic cinematography and scene-stealing supporting turns by Linda Fiorentino, Teri Garr, Catherine O'Hara, and John Heard-directed a darkly comic tale of mistaken identity, turning the desolate night world of 1980s SoHo into a bohemian wonderland of surreal menace.
A carefully crafted open-to-everything mixture of live-wire reality and controlled narrative Medium Cool is the debut fiction feature of Haskell Wexler who had already established himself as one of Hollywood’s premiere cinematographers in the post-studio-system-era on such films as Elia Kazan’s America America and Mike Nichols’ Who’s Afraid of Virginia Woolf?. In 1968 he hurled himself into the tear-gas of the cultural-political moment. The result was alongside Bonnie and Clyde and Easy Rider a seminal early work of what came to be known as “the New Hollywood”. John (the prolific Robert Forster who would find latter-day fame in Jackie Brown Mulholland Drive and Breaking Bad) plays a television cameraman who has become disenchanted as a creative subservient to the mainstream. Eileen (Verna Bloom latterly of High Plains Drifter and After Hours) depicts a newly relocated war-widow swept up in the maelstrom of the conflicts of the 1968 Democratic National Convention in Chicago — the actual events of which serve as the spontaneous backdrop for Wexler’s picture. Documentary and narrative blur in the upheaval and chaos and perhaps only Peter Watkins’ Punishment Park stands analogous as such a powerful statement on the politics media and cinema of the late-‘60s — and the present. The Masters of Cinema Series is proud to present Haskell Wexler’s Medium Cool for the first time in the UK on Blu-ray and DVD. Special Features Including: Gorgeous 1080p presentation of the film on Blu-ray from the 4K digital film transfer approved by director Haskell Wexler Original trailer Booklet featuring new and archival writings and imagery
Clint Eastwood's second film as a director (and his first Western) is a variation on the "man with no name" theme, starring Eastwood as the drifter known only as "the Stranger". He rides into the desert town of Lagos and is quickly attacked by three gunmen. Recovering with the aid of a local dwarf (a memorable role for Billy Curtis), the Stranger is hired by the intimidated townsfolk to fend off a band of violent ex-convicts. After teaching the citizens self-defence and instructing them to paint the entire town red and rename it "Hell", the Stranger vanishes. He reappears when the marauding criminals arrive, and delivers justice and teaches the townsfolk a harsh lesson about moral obligation. Is he a figure from their past or a kind of supernatural avenger? Combining humour with action, High Plains Drifter is both a serious and tongue-in-cheek tribute to the Westerns that made Eastwood a household name. --Jeff Shannon, Amazon.com
America is in the depths of the Great Depression. Families drift apart when faraway jobs beckon. In this masterful atmospheric adventure a courageous young girl (Meredith Salenger) confronts overwhelming odds when she embarks on a cross-country search for her father. During her extraordinary odyssey she forms a close bond with two diverse traveling companions: a magnificent protective wolf and a hardened drifter (John Cusack). A brilliant moving tapestry woven of courage and pe
It isn't difficult to imagine why this 1988 retelling of the Crucifixion story was picketed so vociferously on its release in the US--this Jesus bears little resemblance to the classical Christ, who was not, upon careful review of the Gospels, ever reported to have had sex with Barbara Hershey. Heavily informed by Gnostic reinterpretations of the Passion, The Last Temptation of Christ (based rather strictly on Nikos Kazantzakis's novel of the same name) is surely worth seeing for the controversy and blasphemous content alone. But the "last temptation" of the title is nothing overtly naughty--rather, it's the seduction of the commonplace; the desire to forgo following a "calling" in exchange for domestic security. Willem Dafoe interprets Jesus as spacey, indecisive and none too charismatic (though maybe that's just Dafoe himself), but his Sermon on the Mount is radiant with visionary fire; a bit less successful is method actor Harvey Keitel, who gives the internally conflicted Judas a noticeable Brooklyn accent, and doesn't bring much imagination to a role that demands a revisionist's approach. Despite director Martin Scorsese's penchant for stupid camera tricks, much of the desert footage is simply breathtaking, even on small screen. Ultimately, Last Temptation is not much more historically illuminating than Monty Python's Life of Brian, but hey, if it's authenticity you're after, try Gibbon's. --Miles Bethany
Having been at the forefront of America s here-and-now with Easy Rider and the counterculture movies of Roger Corman, Peter Fonda retreated to the past and the American West for his directorial debut, The Hired Hand. Fonda plays Harry, a man who deserted his wife and child to explore the wide-open plains with his best friend Archie (Warren Oates). Tired of the life he decides to finally return home in order to rekindle his marriage and reacquaint himself with his daughter. Scripted by Alan Sharp (Ulzana s Raid, Night Moves), shot by Vilmos Zsigmond (Blow Out, The Long Goodbye) and with a standout score by folk musician Bruce Langhorne, The Hired Hand is a beautiful, elegiac picture that ranks alongside The Outlaw Josey Wales and Pat Garrett and Billy the Kid as one of the finest Westerns the seventies had to offer. SPECIAL EDITION CONTENTS: High Definition Blu-ray (1080p) and Standard Definition DVD presentation of the feature, transferred from original film elements by Universal Uncompressed Mono 1.0 PCM Audio Optional English subtitles for the deaf and hard of hearing Audio commentary by actor-director Peter Fonda The Return of The Hired Hand, a 2003 documentary containing interviews with Fonda, cinematographer Vilmos Zsigmond, composer Bruce Langhorne, actor Verna Bloom and others Deleted scenes Trailer TV spots Radio spots Reversible sleeve featuring original and newly commissioned artwork by Sean Phillips First pressing only: Collector s booklet containing new writing on the film by Kim Morgan.
One of the most popular movie comedies of all time is also the film that made food fights an art form and John Belushi a star. This raunchy screwball comedy directed with madcap zest by John Landis (The Blues Brothers An American Werewolf In London) offers a relentless spoof of 1960s college life by following the hilarious adventures of the Delta fraternity. There's nothing this motley collection of students won't do to get the best of Dean Wormer who secretly conspires to revoke Delta's charter. In addition to Belushi as the guitar bashing beer can smashing garbage eating Bluto Blutarsky the outstanding cast includes head skirt-chaser Tim Matheson innocent freshman Tom Hulce and Stephen Flounder Furst along with Otis Day and the Knights with their showstopping performance of 'Shout'. Toga! Toga! Toga!
Inspired by the real-life exploits of New York cop Eddie Egan (who was also the basis for Gene Hackman's Popeye' Doyle character in The French Connection), Badge 373 is a tough detective thriller, comparable to William Friedkin's more celebrated feature. Duvall (The Godfather, Breakout) delivers a powerfully authentic performance as a brutal New York detective, ruthlessly hunting for the killer of his partner against a backdrop of social upheaval and violent gang wars. Extras: High Definition remaster Original mono audio Welcome to Fear City (2019): Randy Jurgensen, ex-New York cop and associate of Eddie Egan, discusses the real-life inspiration behind Badge 373 The Seventies Cop Movie (2019): critic and author Glenn Kenny discusses how the genre was redefined in the 1970s. Original theatrical trailer Original TV Spot Image gallery: on-set and promotional photography New and improved English subtitles for the deaf and hard-of-hearing Limited edition exclusive booklet with a new essay by Michael Pattison, an overview of contemporary critical responses, archival articles, and film credits Limited Edition of 3,000 copies All extras subject to change
Clint Eastwood's second film as a director (and his first Western) is a variation on the "man with no name" theme, starring Eastwood as the drifter known only as "the Stranger". He rides into the desert town of Lagos and is quickly attacked by three gunmen. Recovering with the aid of a local dwarf (a memorable role for Billy Curtis), the Stranger is hired by the intimidated townsfolk to fend off a band of violent ex-convicts. After teaching the citizens self-defence and instructing them to paint the entire town red and rename it "Hell", the Stranger vanishes. He reappears when the marauding criminals arrive, and delivers justice and teaches the townsfolk a harsh lesson about moral obligation. Is he a figure from their past or a kind of supernatural avenger? Combining humour with action, High Plains Drifter is both a serious and tongue-in-cheek tribute to the Westerns that made Eastwood a household name. --Jeff Shannon, Amazon.com
High Plains Drifter (1973): Eastwood portrays a mysterious stranger who emerges out of the heat waves of the desert and rides into the guilt-ridden town of Lago. After committing three murders and one rape in the first 20 minutes The Stranger is hired by the town to protect it from three gunmen just out of jail. The Stranger then paints the entire town bright red renames it ""Hell "" and supplies Divine retribution in a fiery climax. Joe Kidd (1972): Concerning a land war in New Mexico at the turn of the century marks Clint Eastwood at the top of his form as a western hero. Filmed in 1971 Kidd brings together a veteran western Director John Sturges the classic backdrop of the High Sierras the top notch acting skills of Robert Duvall and the rugged Eastwood as a ""hired gun"" who takes action based on his own particular sense of justice. And like a very classic western it has gunfights conflicts and a slam-bang finale which has a locomotive being driven through a saloon where the bad guys are hiding. The Beguiled (1971): Set in the Deep South during the Civil War The Beguiled stars Eastwood as John McBurney a severely wounded soldier who is near death when discovered by a teenage girl. She takes him to the mansion that serves as her boarding school where he slowly begins to regain his health under the care of headmistress Martha Farnsworth (Geraldine Page) and the dozen or so girls who live there. As McBurney gets better he begins to charm the girls all of whom are starved for affection because of the war's claim on their men. At length powerful undercurrents of jealousy saturate the atmosphere as the girls and even the headmistress begin to vie for McBurney's attention. He first becomes involved with one of the oldest of the girls Edwina Dabney (Elizabeth Hartman) but ultimately finds it difficult to resist the charms of some of her schoolmates. His promiscuity becomes his undoing.
Inspired by the real-life exploits of New York cop Eddie Egan (who was also the basis for Gene Hackman's 'Popeye' Doyle character in The French Connection), Badge 373 is a tough detective thriller, comparable to William Friedkin's more celebrated feature. Duvall (The Godfather, Breakout) delivers a powerfully authentic performance as a brutal New York detective, ruthlessly hunting for the killer of his partner against a backdrop of social upheaval and violent gang wars. Product Features High Definition remaster Original mono audio Welcome to Fear City (2019, 25 mins): actor and former NYPD detective Randy Jurgensen remembers the life and career of Eddie Egan, and discusses his experiences in the film industry Lethal Enforcers (2019, 29 mins): film critic Glenn Kenny analyses the styles and trends of seventies cop movies Original theatrical trailer TV spot Radio spots Image gallery: promotional and publicity material New and improved English subtitles for the deaf and hard of hearing
High Plains Drifter (1973): Eastwood portrays a mysterious stranger who emerges out of the heat waves of the desert and rides into the guilt-ridden town of Lago. After committing three murders and one rape in the first 20 minutes The Stranger is hired by the town to protect it from three gunmen just out of jail. The Stranger then paints the entire town bright red renames it Hell and supplies Divine retribution in a fiery climax. Joe Kidd (1972): Concerning a land war in New Mexico at the turn of the century marks Clint Eastwood at the top of his form as a western hero. Filmed in 1971 Kidd brings together a veteran western Director John Sturges the classic backdrop of the High Sierras the top notch acting skills of Robert Duvall and the rugged Eastwood as a hired gun who takes action based on his own particular sense of justice. And like a very classic western it has gunfights conflicts and a slam-bang finale which has a locomotive being driven through a saloon where the bad guys are hiding. The Beguiled (1971): Set in the Deep South during the Civil War The Beguiled stars Eastwood as John McBurney a severely wounded soldier who is near death when discovered by a teenage girl. She takes him to the mansion that serves as her boarding school where he slowly begins to regain his health under the care of headmistress Martha Farnsworth (Geraldine Page) and the dozen or so girls who live there. As McBurney gets better he begins to charm the girls all of whom are starved for affection because of the war's claim on their men. At length powerful undercurrents of jealousy saturate the atmosphere as the girls and even the headmistress begin to vie for McBurney's attention. He first becomes involved with one of the oldest of the girls Edwina Dabney (Elizabeth Hartman) but ultimately finds it difficult to resist the charms of some of her schoolmates. His promiscuity becomes his undoing.
Clint Eastwood's second film as a director (and his first Western) is a variation on the "man with no name" theme, starring Eastwood as the drifter known only as "the Stranger". He rides into the desert town of Lagos and is quickly attacked by three gunmen. Recovering with the aid of a local dwarf (a memorable role for Billy Curtis), the Stranger is hired by the intimidated townsfolk to fend off a band of violent ex-convicts. After teaching the citizens self-defence and instructing them to paint the entire town red and rename it "Hell", the Stranger vanishes. He reappears when the marauding criminals arrive, and delivers justice and teaches the townsfolk a harsh lesson about moral obligation. Is he a figure from their past or a kind of supernatural avenger? Combining humour with action, High Plains Drifter is both a serious and tongue-in-cheek tribute to the Westerns that made Eastwood a household name. --Jeff Shannon, Amazon.com
Includes the following five great Clint Eastwood movies: Tightrope: By day Wes Block is a conscientious cop raising his two daughters alone. By night he indulges his bizarre sexaul tastes in the sleazy New Orleans twilight world. When a psychopathic sex murderer invades his dark domain Block's profession and personal lives violently conflict... The Rookie: Undercover cop David Ackerman is delighted with his promotion; that is until he meets his partner Nick Pulov
Chasing their dream of a better life Harry (Fonda) and his good friend Arch (Oates) have drifted across the plains of America together. However Harry has grown tired of his transient life and decides to return to the wife and child that he left years before. At first refusing to accept him Harry's wife orders that he sleep in the barn and work the farm strictly as a hired hand. However soon their romance is rekindled and they rediscover the happiness they once shared. Yet as
It isn't difficult to imagine why this 1988 retelling of the Crucifixion story was picketed so vociferously on its release in the US--this Jesus bears little resemblance to the classical Christ, who was not, upon careful review of the Gospels, ever reported to have had sex with Barbara Hershey. Heavily informed by Gnostic reinterpretations of the Passion, The Last Temptation of Christ (based rather strictly on Nikos Kazantzakis's novel of the same name) is surely worth seeing for the controversy and blasphemous content alone. But the "last temptation" of the title is nothing overtly naughty--rather, it's the seduction of the commonplace; the desire to forgo following a "calling" in exchange for domestic security. Willem Dafoe interprets Jesus as spacey, indecisive and none too charismatic (though maybe that's just Dafoe himself), but his Sermon on the Mount is radiant with visionary fire; a bit less successful is method actor Harvey Keitel, who gives the internally conflicted Judas a noticeable Brooklyn accent, and doesn't bring much imagination to a role that demands a revisionist's approach. Despite director Martin Scorsese's penchant for stupid camera tricks, much of the desert footage is simply breathtaking, even on small screen. Ultimately, Last Temptation is not much more historically illuminating than Monty Python's Life of Brian, but hey, if it's authenticity you're after, try Gibbon's. --Miles Bethany
Please wait. Loading...
This site uses cookies.
More details in our privacy policy